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Jean-Jules-Antoine Lecomte du Nouy Auction Price Results

Jean-Jules-Antoine Lecomte du Nouy (1842-1929)  Please Register/Login to access your Invaluable Alerts

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Edmond BÉNARD (1838-1907) Jean-Jules-Antoine Lecomte du Nouÿ (1842-1923) - peintre orientaliste, années 1880-1900

Lot 186: Edmond BÉNARD (1838-1907) Jean-Jules-Antoine Lecomte du Nouÿ (1842-1923) - peintre orientaliste, années 1880-1900

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Description: Edmond BÉNARD (1838-1907) Jean-Jules-Antoine Lecomte du Nouÿ (1842-1923) - peintre orientaliste, années 1880-1900 Épreuve d'époque sur papier albuminé. Cachet du photographe et mention manuscrite "Lecomte du Nouÿ" au dos. 21 x 27 cm. (8 1/4 x 10 3/4 in.)

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Jean-Jules-Antoine Lecomte du No쳌y (French, 1842-1923)

Lot 7: Jean-Jules-Antoine Lecomte du No쳌y (French, 1842-1923)

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Description: The Marabout Prophet Sidna-Asissa, Morocco signed and dated 'Lecomte du Nouy 1883' (lower right) oil on canvas 30 1/8 x 501/4 in. (76.5 x 127.7 cm.) Painted in 1883 PROVENANCE Mr. Psicha, Athens. Anon. sale, Sotheby's, London, 13 June 1973, lot 40. Gallery Kourd, Athens (acquired at the above sale). The Fine Art Society, Ltd., London. Acquired from the above by the present owner, 1979. LITERATURE G. de Montgailhard, Lecomte du No쳌y, Paris, 1906, p. 81 (illustrated). EXHIBITION Paris, Salon, 1884, no. 1465. NOTES Jean-Jules-Antoine Lecomte du No쳌y hailed from a prestigious family descended from a line of Piedmontese nobles, documented in France as early as the fourteenth century. In addition, both his parents were collectors and his uncle, Andre du No쳌y was official court painter to King Murat of Naples. Lecomte du No쳌y began his artistic training in the Parisian atelier of Charles Glerye in 1861 and quickly gained the praise of mentors who included Emile Signol and Jean-L‚on G‚r“me. Hailed as one of G‚r“me's brightest pupils, it was under the influence of the great French master that Lecomte du No쳌y took an interest in Orientalist subjects, although his oeuvre encompasses scenes from classical antiquity to portraiture. Moreover, because his artistic output was modest, his works are exceptionally rare. Indeed, due to his careful studied technique combined with his attention to architectural detail he has been referred to as "the epitome of academic Orientalism" (L. Thornton, The Orientalists, Painter-Travellers, Paris, 1983, p. 188). It was at G‚r“me's urging that Lecomte du No쳌y set out with fellow painters on an artistic pilgrimage to the far lands of the East visiting Turkey, North Africa and Asia Minor. His last journey was with fellow painter Charles Toch‚ to Morocco where the scenes of Tangiers and Tetuan served as the inspiration his later canvases. For the present work, exhibited at the Salon of 1884, du No쳌y drew his inspiration from the rich religious history of Morocco choosing as his protagonist the marabout prophet Sidna-Aissa, a mystic leader and healer living in Morocco in the late fifteenth and early sixteenth centuries. Also known as Si-Mahmed Ben-Aissa or Sidi Muhammed (born Isa al-Fihri), this Qu'uranic prophet founded the religious brotherhood of Aissoua based on the rule of the Shadhiliya Sufis. He traveled extensively around the country preaching, and one of his many talents was his ability to grant his Marabout disciples immunity from wounds and disease. Not surprisingly, their ritual presence was often requested during epidemics where it was thought they could drive away disease through their ritual dances. These dances were frenzied group affairs characterized by animated jerking movements. They often included the formation of human chains around a ritual fire which may have also involved self-inflicted pain. Although the Marabouts depended on alms, they could wield great political as well as religious power. Sidna-Aissa amassed a strong following among the more fanatical populations and used his status to stir his people to wage holy war against the Portuguese and Spanish Christians who had been gaining power in the Mediterranean region since the beginning of the fifteenth century. Here, surrounded by a small band of eager followers, Sidna-Asissa, with his head tilted upwards, narrates one of his prophetic visions. In response, his disciples display a number of startled reactions communicated with near photographic realism. According to an anecdote recounted by Montgailhard, Lecomte du No쳌y modeled his 16th Century prophet on a modern Moroccan healer he met during his stay. The healer, however, distracted by Lecomte du No쳌y's presence, verbally directed negative premonitions towards the painter. Unperturbed by these threatening statements and determined to watch the scene unfold, the artist continued his careful observance of the men, rendering with his characteristic exactitude, every detail of the men's physical appearance, dress and accessories down to the calligraphy in Arabic on the wall which reads, "May God grant you health. May God give you strength".

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Lot 18: Jean Jules Antoine Lecomte

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Description: du Nouy (French, 1842-1923) CHRETIENNES AU TOMBEAU DE LA VIERGE, JERUSALEM signed and dated Lecomte-Du-Nouy-1871 (lower left) oil on panel 15 by 11 3/4 in. 38.1 by 29.9 cm. Provenance: Frederic Reitlinger, Paris Schweitzer Gallery, New York.

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Lot 21A: JEAN JULES ANTOINE LECOMTE DU NOUY

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Description: (FRENCH, 1842-1923) "DEMOSTHENE S'EXERCE A LA PAROLE" signed and dated 1870 oil on panel 18 5/8 by 14 3/4 in. 47.3 by 37.5 cm. Exhibited: Possibly Paris, Salon de 1872, No. 967.

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JEAN JULES ANTOINE LECOMTE DU NOUY

Lot 23: JEAN JULES ANTOINE LECOMTE DU NOUY

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Description: JEAN JULES ANTOINE LECOMTE DU NOUY FRENCH, 1842-1923 THE SMOKER signed and dated Lecomte de Nouy 1876 (lower right) oil on canvas 18 by 12 3/4 in. 45.7 by 32.4cm. PROVENANCE Mathaf Gallery Ltd., London

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 Jean-Jules-Antoine Lecomte du Noüy , French 1842-1929 LE FER QUI DONNE DU PAIN bronze, mid brown patina

Lot 26: Jean-Jules-Antoine Lecomte du Noüy , French 1842-1929 LE FER QUI DONNE DU PAIN bronze, mid brown patina

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Description: signed: JEAN DU NOUY and with the bronze garantie pastille, the number 4258 and the GALERIA ARTISTICA/S C REGUAN/PERU foundry stamp bronze, mid brown patina

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Lot 87: *Jean Jules Antoine Lecomte du Nouy

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Description: (French, 1842-1923) MADEMOISELLE DE MAUPIN signed Lecomte du Nouy (lower right) oil on canvas 42 1/8 by 33 7/8 in. 107 by 86cm. Lecomte du Nouy was inspired by Theophile Gautier's novel Mademoiselle de Maupin of 1835-36. The action takes place at the end of the 17th century. The heroine of the novel decides to disguise herself as a man in order to know how men live and treat women, the discovery of which fills her with a sense of horror and eliminates any sentimental illusions. This painting illustrates a passage from chapter 16 at which point our heroine reveals her true gender to Count Albert de Baviere, who consequently falls in love with her. Mademoiselle de Maupin exclaims, "I am renouncing my men's attire for you, tomorrow I will resume my guise for all, think that I am Rosalinde only for the night." Lecomte du Nouy spent thirty years refining this painting. The young woman represents supreme and eternal beauty, the poet's muse. Lecomte du Nouy incorporated Theophile Gautier's traits in depicting Albert de Baviere, and Theophile Gautier's daughter, Judith, immediately recognized her father when she saw the painting. A preparatory sketch for this work was included in an exhibition entitled Lecomte du Nouy, Galerie Hahn, Paris, Sepetmber-October, 1995, No. 67 Exhibited: Paris, Salon de 1902, No. 1007, illustrated in the catalogue illustre, p. 2 Literature: Guy de Montgailhard, Lecomte du Nouy, Paris, 1906, p. 140, illustrated, p. 40.

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Jean-Jules-Antoine Lecomte du Noüy , Paris 1842 - 1923 Paris Quatre vues d'Egypte; La maison du Cheik; phare au bord du Nil; Barques sur la rive; Bords du Nil Jean-Jules-Antoine Lecomte du Noüy ; four studies from Egypt: the Cheik's house, Vue of a

Lot 100: Jean-Jules-Antoine Lecomte du Noüy , Paris 1842 - 1923 Paris Quatre vues d'Egypte; La maison du Cheik; phare au bord du Nil; Barques sur la rive; Bords du Nil Jean-Jules-Antoine Lecomte du Noüy ; four studies from Egypt: the Cheik's house, Vue of a

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Description: L'un inscrit et daté au dos Alabouaah Fayoum 1893 février/maison du cheik/Lecomte du Noüy 1893 Huile sur panneau, un lot de quatre Quantity: 4

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 Jean-Jules-Antoine Lecomte du Noüy , French 1842-1929 The Citrus Seller oil on canvas

Lot 170: Jean-Jules-Antoine Lecomte du Noüy , French 1842-1929 The Citrus Seller oil on canvas

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Description: signed LECOMTE-DU-NOÜY and dated 1878 (lower right) oil on canvas

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JEAN-JULES-ANTOINE LECOMTE DU NOÜY

Lot 177: JEAN-JULES-ANTOINE LECOMTE DU NOÜY

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Description: signed Jean Du Noüy and dated '89 (lower left)oil on canvas

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Lot 187: Jean-Jules-Antoine Lecomte du Nouy (French, 1842-1923) La lune de miel à Venise 30 x 52 1/2in (76.2 x 133.3cm)

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Description: La lune de miel à Venise signed and dated 'Lecomte du Nouy 1875' (lower right)oil on canvas laid down30 x 52 1/2in (76.2 x 133.3cm)

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JEAN-JULES-ANTOINE LECOMTE DU NOÜY

Lot 240: JEAN-JULES-ANTOINE LECOMTE DU NOÜY

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Description: JEAN-JULES-ANTOINE LECOMTE DU NOÜY 1842 - 1923 VIEW DU MALLEVAL (LOIRE) inscribed and dated Malleval (Loire) 1870 on the stretcher oil on canvas. Together with Théodore Valerio, French War Ship , oil on canvas. 2 works . the first 11 by 9 5/8 in.; the second 16 by 10 1/2 in. 28 by 22 cm; 40.6 by 26.7cm

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Bronze, Portrait of a Gentleman

Lot 2362: Bronze, Portrait of a Gentleman

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Description: Bronze sculpture, Portrait of a Gentleman, after Jean-Jules-Antoine Lecomte Du Nouy (French, 1842-1923), bears Galeria Artistica/S.C. Reguan, Peru foundary stamp, inscribed ''Fundicion-Morales, Barcelona,'' and numbered 1059, with a green marble base, sculpture dimensions: 7.5''h x 6.75''w x 4.5''d

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